Posted by: ikachusa | March 29, 2013

AFTER THREE YEARS OF DEGREE WORK

Stanza II

STANZA II

This image represents the second verse of a poem by Wallace Stephens: Thirteen Ways to See a Blackbird.  In the real world it is a snap of the disorganized state of the brain of an old man trying to learn how to paint.

New Mexico Yesterday
COLORADO RANGE

I can never seem to break away from the influence of my grandfather, D. P. Sims, who painted cowboys, Indians, ranchers, horses, cows, and the land and trees of the Rockies

My El Toro

MY EL TORO

My favorite dinghy.  Built these out of wood and fiberglass.  My last one had a red sail.

LTwo Hue2

NEW MEXICO JUNIPERS

Been playing around with the idea of using two transparent pigments plus white to do a painting.  This one uses raw sienna and ultramarine blue plus white to achieve a full range of values.  There are more examples below.

LSagami Wan2

SAGAMI WAN

These days I will sneak in a nostalgic painting reminding me a days gone by.  This view from Sagami Wan in Tokyo Bay was a favorite when I was a junior officer aboard a Navy destroyer.  In the foothills of Mt. Fuji is the little resort town of Atami, a favorite with Japanese people on Honshu who wish to travel the short distance from Yokohama.

LPear2

OH, PEAR

I guess every artist has to try on some fruit.

LNaranja2

ORANGE FLOAT

LHome Of The Blackbird

HOME OF THE BLACKBIRD

Here I am beginning quite a stretch of playing with complementary colors.

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HOME IS THE SAILOR
Here we are caught up in two techniques: the use of only two pigments (magenta and viridian) plus white in producing the image and the use of a totally diminished scale to announce the grandeur of the mountains.  A bonus is the mystery of what lies up the channel. This gallery-wrap measures 36″ X 48.”

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VISUAL FLIGHT RULES

Another image using two pigments plus white with the added idea of a large scale excursion to heighten the idea of the a big storm.

My beautiful picture

FOUR LEGS, TWO HEARTS

Here I am getting into the excitement for me of the tango.  Did a series of these, some of which follow later.  I would don ear bods from my iPod while painting with a run of Carlos Gardel vocals.

My beautiful picture

MY BEAUTIFUL PICTURE

The idea for this painting was derived from a DVD of migratory birds.  I placed a camera in front of a 55″ HDTV screen and took about thirty shots of birds for reference.  This is one painting I made from the experience.  The title comes from the fact that our instructors hate student critiques that describe a work as being “beautiful” and a painting as a “picture.”  When a student makes this mistake, the prof always asks, “Tell me in detail why you see it as being ‘beautiful.'”

My beautiful picture

HORSES THAT RUN AT HOLLYWOOD PARK

Oh, I love to paint horses, and this one is the subject of some unfair social comment about Hollywood.  Only there would the horses’ manes be dyed.  I am also studying the abstract presentation that results when one zooms in on an object.

My beautiful picture

 TECHNITUNA

Stole this idea from the internet with a view toward showing what daylight filtered by the ocean could result in some flashy color on a fish.

Cow's Daughter

COW’S DAUGHTER

Somewhere on this blog is a blue cow that loves starry nights.  This is the calf that goes with cow.  We shouldn’t be surprised that the calf did not turn out to be blue, but in the title we must acknowledge the poet Ogden Nash and his two cows in a marsh.

Bandon Beach

BANDON BEACH

I had originally painted this view of Bandon Beach, Oregon as a conventional seascape but came back to it with a new head full of color and an abandonment of detail.  I like this version better.

My beautiful picture

 ALL AT SEA

Lately I have been using oriented strand board (OSB) for images of nature where the natural texture of compressed wood chips seems to add a dimension through which a scene is viewed.  Once again I am zeroing in on a small part of the whole, in this case using a knife and a brush to produce a wanted effect.  OSB, although non-archival, is very cheap for a poor painter, is very sturdy yet somewhat heavy compared to canvas, and if you find after a while that the paint has dried and you want to recompose the scene, all you need to do is run it through a table saw.

Tango Passion (2)

BANDONEON SINGS

Here I am back at the passion of tango with a bandoneon player singing his heart out in a smoky café.  These tango paintings kept my interest alive during a long semester of painting under the instructor’s personal direction.  I could go back to this genre anytime, since the Carlos Gardel album I play in my ears to drown out the noise of the studio air handler contains thirty songs from Argentina.

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HEART TO HEART

The tango starts with a walk and ends with a walk with the middle a rush of passion.

MOTHER OF ALL TOOTHPICKS

MOTHER OF ALL TOOTHPICKS

Every now and then I paint the canvas with black acrylic as a ground for the oil to follow.  I told my prof I was going to put yellow leaves on the trees and he made it very clear that I was finished with the painting just as it was.  Glad I listened to him.

Trees Too Close

BETTER THAN TWINS

My prof said I might want to turn to abstract painting or landscapes, so I thought, well, you can see that I thought the combination of actions would be fun.

They Feed Horses, Don't They

THEY FEED HORSES, DON’T THEY?

This may be a great fraud in a painting if it were not that we are exercised in letting the paint speak for itself.  Since being poor usually goes along with being a student, I developed a habit of taking paint left over at the end of the painting period and brushing it on to a canvas where it can collect until something appears out of the colors and the composition.  On this one I saw the eye of a horse and a hand to feed the horse.  All I had to do then was to take a liner brush and some linseed oil and brush in the grass the horse would like to eat.

Saguaros At The Test Site

MARCHING SAGUAROS NEAR THE TEST SITE

The material is OSB painted black.  I underpainted the cactus white, then applied a light green  pigment to create a glow effect.  Here I am dedicating myself to a fascination with complementary colors while making a little statement about nuclear testing.

Remembrance of Fujisan

FUJISAN

Here we are again with nostalgia for my old days aboard ship.  Although I got the slope of Fujiama too shallow in this work, the introduction of the cherry branch makes this a piece for the piano in my home.  In 1955 two friends and I climbed the sacred mountain beginning in the afternoon and arriving at the top and down into the volcano’s crater at daybreak.  We stood shivering in the direct sun several thousand feet above a vast cloud layer over Honshu.  One of life’s religious experiences not to be forgotten.  Note the effect of the OSB.

Musical Trees

FORESTATION

Another of several attempts to emulate the effect of distant light shown to us by Claude Lorain (b. 1604 Champagne, France, d. 1682 Rome) who, among others of his ilk, depicted distance as a circle of light between trees left and right.  Every time I try this method, I get so involved in the construction of the trees and the use of complementary colors that I forget Lorains’s composition.

Fog Riders

FOG RIDERS

Every year for ten years of our retirement we ran off to Oregon in May from the Gulf Coast and entered the cool groves and beaches of Oregon and Washington where I recorded our memories with a frequently used camera.  One such day we arrived on the beach in the fog and saw but very dimly two riders disappearing in front of us.  When the fog lifted a little, we spotted some thirty horses and riders and made quite a day of it taking photo after photo that will serve for many future paintings.

Filmside of Soundside

SOUND NEGATIVE

With Pensacola Plein Air Painters I had made other trips to Santa Rosa Sound to draw and paint a nature set-aside called The Reserve.  After drawing this image in my sketch book, I determined it was so much like another I had painted that I would paint it as if it were the negative of a film.  Hot would be cold, blue would be orange, brown or black would become white.  The effect is surrealistic, not my style, but I thought it was interesting.  In the background is Pensacola Beach.

Colors of Passion

EMBRACE UNDER THE INFLUENCE

Not obviously another use of left-over paint; nevertheless, that is what it is.  Of course, I saw the tango image in it and added a touch of hair for a tiny taste of recognition.

Albinos

PENSACOLA PELICAN ALBINO

Just some harmless fun with Pensacola’s image.

Yaquina Head Light

.YAQUINA HEAD LIGHT

Having painted this often photographed (by me) a couple of times in the past, I thought to execute the scene in an abstract mode.

Tropic of Aries

TROPIC OF ARIES

Some of these small (8X10) paintings can serve as studies for larger panels.  Tried to think of blue skies, orange sunsets, and palm trees on this OSB base.

Green Head

GREEN HEAD

This is another example of the use of two complementary colors plus white to produce a striking image.  I stole this idea from Don Jusko, a famous colorist who has painted the Hawaiian Islands out of door for years and years.  Google him for some spectacularly fresh out-of-doors paintings to view.

FW Pond

EUCALYPTUS LIGHT

Having tried in vain many times to get that ‘Claude Lorain” look, I found myself coming closer with this little 8 X 10 on canvas.  Always fun to try to achieve a certain effect running around in your brain case.
Small Craft Warning

SMALL CRAFT WARNING

Unless you are an artist, you probably can’t tell that this was an exercise in removing paint.  Apparently I should have removed more of it, no kidding.  Maybe all of it.  This could be a sailer.  What is that?  A panel you sail over the roof.

Resurrection

ASCENCION

I have had dreams like this where I am in the abyss and can see the light above the top of the water.  I would float up into the heavens in a symbolic move to achieve nirvana: freedom from desire, hostility, and delusion.  I understand several of those of the Buddhist faith have managed to do this.  Too hard.

Daughter of Beach Motif

DAUGHTER OF BEACH MOTIF

If you paint and you live on the coast you are going to try on of these.  I feel the OSB in 8 X10 format served me well here.  When they are dry you can stack these things in a bookcase and rotate them on top of the piano.

Bosque Solitaire

BOSQUE SOLITAIRE

Here’s that lone tree again.  This 6 X 6 format fits on the piano also, but if you do not encase it in epoxy the OSB will disintegrate when you use it as a coaster.

Blue Head

BLUE HEAD

In this one I tried for brushwork using upward strokes only.  It is not all that good of an idea.  But it shows I was working that day.

Poplars a la Monet

POPLARS A LA MONET

If you study Monet you will see he loved to paint poplars in various seasons.  Per David Dunlop, a blogger I admire and top plein air artist, if you lay in cool horizontals (sky, mountains , water and lay these vertical trees against them, you can use complementary or analogous colors in the trunks and cause the trees to stand forward.  I did this, finishing with yellow leaves complementary to the purple mountain and blue sky.  The bonus I achieved here was having the warm colors push the cool of the water even farther forward.  Usually you think of cool colors receding and warm colors advancing.  Here I feel I achieved the opposite effect.  Which version of this painting do you prefer and why?

poplars-cropped

POPLARS FORWARD

   This is a cropped version of a painting I did for art class.  The idea of the entire painting, below, was accepted but this version was recommended.  One of the niceties of painting on canvas supported by mahogany door skin is that you can change the composition by using a table saw.  The whole painting 18 X 24 oil was an exercise in having warm colors come forward to the front plane of the canvas and cool colors to recede.  As you will see in the next image, I achieved a bonus in doing that.

horses-that-listen-for-distant-thunder

HORSES THAT LISTEN FOR DISTANT THUNDER

   .  Seldom, but every now and then, I will produce a canvas that may merit showing here, even if it is silly.  Lately I have had a tendency to paint farm animals that are “in your face.”  I am struggling to get away from recording the mistakes of nature exactly.  This horse does not like thunder, so I gave him a blue eye.  After all, why should a painting (as suggested by famous art critic E. H. Gombrich) be a police report?

cows-that-love-starry-nights

COWS THAT LOVE STARRY NIGHTS

    This requires an apology to a long gone and very well-loved artist, Vincent van Gogh, whom we mourn as never having received his due, the millions of dollars brought at auction by his excellent paintings.  Van Gogh’s painting is, of course,”Starry Nights,” and I could not resist bringing his method of depiction into a painting of a blue cow.  Residents where we live could not help reciting a poem attributed to Ogden Nash but actually written by Gelett Burgess in 1895: “I never saw a purple cow; I never hope to see one; but I can tell you anyhow; I’d rather see than be one!”

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GUADALUPE MOUNTAINS

Once I had learned that an artist could combine two  transparent pigments, preferably complements on the color wheel, and add white, that a full range of values could be reached.  This was my first attempt, showing a stormy day over the mesas in Texas and New Mexico.  The colors are raw sienna and ultramarine blue.  24″ X 48″ oil on canvas gallery wrap.  I buy my canvas on 40% off days and rip straight-grained fir for the stretchers, making sure to leave a small relief so that paint won’t collect at the full width of the support..  Canvas pliers come in handy.  About three coats of water-based latex from the unwanted paint shelf at the hardware store prepare the ground by filling in most of the interstices.  Is it archival?  No.  Do I care?  No.

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SHORES ROCK

Just a 20 X 16 oil study to see the effects of a yellow glaze.  Good for sailing over the back fence.

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PASTEL LOOK-ALIKE

This 16 X 20 was twice painted, knife over brush.  Look in vain for crops.

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NEW MEXICO

Trying for a minimalist approach while thinking of the cobalt blue of a southwest sky.

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BEACHY WITH SHADE

Forcing myself to abstract Gulf Coast motif.  Something missing here.  Cooler?  Note use of OSB panel for texture.

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PERDIDO BAY HAMMOCK

Third time I have painted this scene.  The first was an insipid oil sketch while painting with my plein air buddies.  Tried to repaint that in the studio and it sill looked lifeless.  Then I decided to let fly with much more imagination and a much greater separation between hots and cools.

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SYLVAN ORANGE

I can’t get off of the idea of trees as an opportunity to seek color combinations in nature.  Haven’t figured out why I do this, but it can be identified as a harmless activity.

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LAMBDA LAGOON

It is the shape of this composition which gives away its name.  Painting abstract landscapes seems to be the attraction.  Sometimes when I am doing these I feel like I am in a dream.

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WAS IT SAN ANDREA’S FAULT?

This image keeps arising in my mind ever since I thought of it many years ago in a class on air brush techniques.  I like the low grade pun of it, having been raised on the west coast as an earthquake person instead of a hurricane or a tornado person.  Another in a considerable series of abstract landscapes.

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POPSICLE TREE

Another obsession, an image of a single tree on a plane with hills in background.  One woman who saw this told me there are no trees like this–and what was with the dirty water, anyway”  Myself, I liked the image of a big-mouthed man face up.

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NIGHT LAND

Here I had the idea of (1) priming the canvas with black acrylic, and (2) painting the canvas with pure linseed oil, and (3) wiping all the linseed oil off before beginning painting.  This made the panel slick so that a brush loaded with oil pigment glided everywhere I wanted it to go without dragging.  It won’t be long before I try this again–this time with horses.  This one looks like it might appeal to viewers who claim not to like abstract art.

P1010628

POPSICLE HAMMOCK

Here is a large (36 X 48) canvas promoting the idea of the popsicle tree and setting them into a mound as seen in a painting of Perdido Bay shown above.  With some more detail, it could be classified as surrealistic, but I am happy just to show earth, water, and sky.

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Responses

  1. I am excited to see your new works. *Happy Birthday* learning man!

    • Holy Smokes!! Had no idea anyone would looking at the blog and was not even sure if even I could find it! Thank you very much, Jill. Our daughter left last week and our grandson left today at noon, so I’ll have to get back to work on the blog. This amendment will have a lot less information than previously published since this paint-slapper is so crushed for time until graduation. By the way, I am very jealous of your ability and the results you produce with brush and knife. Makes me happy to know all of you.

      Terry

  2. Enjoyed seeing your paintings and narration! Good for you, hope to see you painting this summer

  3. Terry,
    I am thoroughly impressed. Enjoyed all your work. No “sailors” among these.
    Congratulations! Well done!
    Rhoda

  4. Nice work, Terry! Thanks for posting.

  5. Terence! An amazingly wonderful, unparalleled body of work! Enjoyed the captions almost as much as the paintings. I am truly overwhelmed with your artistry and honored to have been your shipmate.

    • Thanks for sharing! Love the cows!

      • Thank you, Tina. Seems painting is a little less harmful than stock car racing, chain-smoking dope or cliff jumping. Anyway, my wife wanted to get me out of the house, and that worked.

  6. I’m stunned, Mr. Sutherland! Hope you have these in a relatively accessible place, as there are many I’m planning to steal!

  7. Squid,
    You have done a wonderful thing in publishing your art work and adding the very interesting captions. I don’t think you showed your work to our group. Glad you had the perseverance to complete the course and earn your degree. Your do good work. We will miss seeing you around the camp fire. And thank you for always encouraging me in my efforts with the camera. It was important to me to receive your generous comments. GO NAVY BEAT ARMY! Roberts the Roamer

  8. Terry:

    Wonderful work! I really liked “HOME IS THE SAILOR”, we both know what it like to come home from the sea. I am honored to know you, a fellow sojourner on the sea of life. Your art work speaks volumes of your “young at heart” soul. Press on my friend. Jim Kiesling – ‘80


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